70 .. .. t ::. ....t^- ''"'' )0 -.... ".- ,. ' .. ,.\ y ...... ,.. ., :.... e..\ '- :.. 'l .\ ' \ \' \ t .: .... ..f.... .... ( : :. Tiffany's new and feminine jeweled clock. Eighteen karat gold wreathed with lapis lazuli and diamonds lapis lazuli and fluted gold. Fifteen jewel movement with Shown actual size. Velvet-lined traveling case. TIFFANY & CO. NEW YORK '.> ';::{ ::. ìNESSÊ... Ç0MES '.wtrH FUNCTION ih this new addition .lQ ::::Qu ::.. weqish-crafted Jiving ..and:;:.dlning:;:toom furniture. ..Ex;imìne..it-and see 1)ow,:.DUX in your home è þressès b st how you live;. t % t "'ì ....:.Wtite. fOf .na.me(Jf dealer in }'()ur community. B1;( rt:. 25 .. ol/'72..pag (.aralog .$l.fJ{). . p.lfXJnc rpQr.,!$ed .Dept N. 9() Ni'nth Si ,et ..Sa1f Françiscl) 3 : â dê igned':by;:Ni Jonssøn Ø" . .... :: "::. ^ ,':.. '-. ..- ". . .;' .. .", ..t . ;. ':f". ;.:::-=: -. r DUX York <<- ,< , the dial of alarm. ",^ ::;:i.; "'oJ: MUSICAL EVENTS Bonanza T HE New York première of Douglas Moore's opera "The Ballad of Baby Doe," which was presented last Thursday nIght at the City Center, turned out to be all I had hoped for and expected-a ver) important event in the current histor) of music. It is both a genuine opera and a genuine expression of our peculiarly American way of looking at things-a combination that might seem a bit in- congruous to those who think of opera as a formal outgrowth of the European romantic drama, but one that Mr. Moore hds proved is as normal, natu- ral, and thoroughly enjoyable as any- thing else in the contemporary theatre. If any habItues of the Broadwa) playhouses wandered in to see the per- formance l and no doubt a few did'), they must have found themselves on fairly familiar ground. The tunes Mr. Moore provided are as beautiful as those in any musical show, differing from them only in the operatic com- plexity of their structure and in the challenge they pose to sIngers of a highly cultivated sort. The drama, written by the late John Latouche, is a heart- warming tale of the Colorado mining country during the eighties and nine- ties, and, but for the fact that it ends in poignant tragedy and includes several quite penetrating studies of human character, does not stray far from the conventions of popular show busIness What the visitors from Broadway prob- ably did not realize, however, is how new all this is in the world of opera, and the extent to which Mr. Moore, In grafting a healthy }\merican shoot onto the age-old operatic tradition, has furthered what is beginning to look like an artistic revolution. The work is, ac- tually, a sort of declaration of independ- ence-independence from all the fashionable highbrow fiddle-faddle and mysterious technical mumbo-jumbo that during the past forty years have tended to reduce the art of opera to a feeble caricature of itself. Mr. Moore, who IS as learned a composer as you are likely to find, has renounced all this pretentiously learned clutter and returned to fundamentals. He has a distinguished melodic gift-something